 I'm Catherine Morris. I'm the curator of the Elizabeth A. Sackler Center for Feminist Art. The project Sojourn is an installation meaning that it will be site-specific to the galleries in the Sackler Center, as well as to two period rooms outside the Sackler Center, which we're also really thrilled about to sort of have the opportunity to go outside those doors and also play around a bit with some of the historical rooms, which I think is going to be really fun. I started off wanting to primarily talk about Sojourn and your ideas about that and how it came about, and this is an 18th century needlework by a young woman called Prudence Punderson. It belongs to the Connecticut Historical Society. While this isn't the only inspiration, it is certainly a piece that seems to resonate with you. On the right, in this case, what you see is a child in a bassinet being rocked by an enslaved African, one of the few representations of an enslaved African in northern output that we know of. In the middle is a woman, and at the left is a coffin, so obviously following the theoretical course of a life, in this case a woman, and what's unusual about it is that it doesn't sort of have the highlights of a typical life cycle, which would typically include marriage and children. And instead, what we have is a woman apparently making something. You know, I just really loved it. You know, I see how, like, there are all these people having all different kinds of lives that have very little cultural representation. So I thought, I have to make, you know, something about this. Of course it doesn't end up being about that at all. Like, you know, you just think you're doing one thing and, like, completely other things happen, you know, that you don't expect. What I realized after I was making all this work, that in a way I was making a model for being an artist, that I thought creativity is given freely to us. Like, it just comes in us and, you know, like you can pick it up and move with it. Like, you have to, like, show up for it and use it. But in general, it's like the messenger. It's like the Holy Ghost coming and just, like, you're just minding your own business. And then, you know, things appear to you or become evident to you. You know, so it's just somehow from there. I've constructed this whole, you know, group of work. But it really comes, like, out of this and then gets mixed up.